METHODS RECOMMENDATIONS BY SOLOMEA KRUSHELNYTSKA IN THE CONTEXT OF VOCAL PEDAGOGY OF HER CONTEMPORARIES

Abstract

Pedagogical activity of Solomiia Krushelnytska and her methodological guidelines in comparison with “Ten commandments for a young singer” by Valerii Vysotskyi – “Recommendations” by Francesco Lamperti – “Ten commandments of a singer Olekandr Myshuha”. Pedagogical activity material collected from memories and obser-vations of the disciples of Solomiia Krushelnytska and her methodology guidelines allow tracing succession of Lviv Vocal School, which is developed along the axis: Francesco Lamperti – Valerii Vysotskyi – Solomiia Krushelnytska – Odarka Bandrivska. The comparative table shows the extent of how recommendations to vocal and artistic skills development, repertoire selection and gradual singers training coincide with the representatives of three sequential generations owing to which we can talk about an undeniable succession of the Italian – Lviv School (and as far as Myshuha is concerned, the Warsaw School, too). Generally, it is possible to summarize that if Lamperti’s main focus in certain other guidelines is artistic career building, ways of conduct in theatres, considering the forms of performances, Myshuha’s main focus was on physiological bases of proper singing while ethical ideals are most evident in Vysotskyi’s commandments. However, ideals and values of the Lamperti School are explicitly traced in activity of V. Vysotskyi, a famous Lviv pedagogue. They will be later followed by Myshuha and one of his favourite disciples Solomiia Krushelnytska, who will creatively learn and meaningfully develop them, first of all, as an opera singer in the most wide-ranging repertoire, later – as a chamber singer and in the decline of years – as a pedagogue. Therefore, we refer to her short-lived pedagogical work in respect of which evidence of her disciples and, what is most important, methodological work of Odarka Bandrivska, a niece and disciple of Solomiia Krushelnytska, are available. On the basis of the available documented evidence, a system of the great artist’s view on the essence and ways of vocal art mastering, forms of achieving mastery in the field is implicitly reconstructed, i.e. a rational and didactic segment is discovered. Methods of work of Solomiia Krushelnytska as a pedagogue with vocal singers-beginners are of great interest for contemporary vocal pedagogy. Their application will have a positive effect on further development of not only vocal skills, but also artistry forma-tion, penetration into the style of performed works of the future opera and chamber singers.